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tv   Charlie Rose  PBS  February 4, 2014 12:00pm-1:01pm PST

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>> rose: welcome to the program, tonight we look back at the super bowl and the stunning upset by the seattle seahawks with peter king, rachel nichols and jim gray. >> and peyton manning's performance in this super bowl, what part is the x's and o's and what part of it is mental? because you have to consider the fact that as he has gotten older and as things are more important to him, it is not just physically it is harder to get it done at 37 years old, mentally, it is more difficult to get it done at that age, we saw it with brett favre and players in other sports. you tighten up, it means more. you are more -- you are smarter and have been through it all, you are aware, this is your last chance maybe, you have to grab it, you have to make this work, and you mess-up. >> rose: we continue this evening with an appreciation of the life and art of philip seymour hoffman, who died 46.
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joining me first, ao scott and david denby, film critics. >> he was both a wonderful character actor and had great character parts in big hollywood movies but partly because of the flurry of that independent and studio specialty division, cinema and the ambitions of directors like paul thomas anderson and others, he was able to become a star, to take on these heed roles that were incredibly ambitious, often very dark and troubling and there is just this kind of honesty i guess in his work that was very unusual and will be very much missed. >> but i was feeling he was just opening up all kind of spheres of rages, lusts, everything that -- it never stayed on the surface, charlie, it always went deep. even in small roles, i mean he could suggest soulfulness, you know, underneath whatever he was doing on the surface, and the
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surface was spectacular. >> rose: ben miller, the film director, philip seymour hoffman and was a long time friend, talked about him while he was alive and reflected on his craft. >> he would call me up, before he would go up in a play, right before two weeks before true west, a few weeks before the seagull he called me up and say, you know, benny, i am nervous, i think my career is over, i don't know what i am doing, i am going to be revealed to be the fraud i really am, you know, and he is a genius, and so when that ban to happen with capote -- >> you had been there before. >> i had been there before. and, you know, i think we knew how to give him the space and allow him his despair. >> rose: we conclude our appreciation of philip seymour hoffman with a look back at his own words during a number of
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appearances on this program. >> you know, i look for the thing i really don't want to find, meaning that i keep asking questions about the character and about myself back and forth. pertaining to the story, pertaining to what i know to get at some type of truth that i feel is the certain of the guy's engine, if that makes any sense at all, it is kind of like getting at something that hopefully will be something that kind of catapults whoever you are playing into action, and it is a hard thing to do, and sometimes you don't find it. but yo you are in constant sear. >> do you put the process on paper or a mental exercise. >> no it is very mental, it is work. it is problem solving. it is a lot of things. >> rose: looking back at the super bowl, and the life of philip seymour hoffman when we continue. funding for charlie rose is provided by the following.
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>> captioning sponsored by rose communications from our studios in new york city, this is charlie rose. didn't change anything for this game and didn't make up any new calls and change any defenses or precious or anything, we put our guys in situation to play they were comfortable with and they did and learned how they were playing and we got a great play out of everybody. >> rose: the seattle seahawks gave a crushing victory over denver broncos at metlife
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stadium, the final your was 43 to eight, seattle swarming defense forced the normally sure-handed peyton manning to commit untimely miss mistakes. 69 yards for a touchdown, to become the first defensive player to earn super bowl mvp honors and tampa bay buccaneers safety dexter jackson in super bowl 37, joining me now, peter king of sports illustrated and and rachel nichols host of cnn friday's night program unguarded and jim gray hosted last night's game and pregame for westward one radio. i am pleased to have them all here and have them back. so my question first to i do not know the answer to. what happened to peyton and the denver offense? >> other than the blanket statement it was the seattle defense? >> charlie, two things happened in this game that the seattle defense sort of -- they saw in
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advance, number one, they knew that when peyton manning came to the line in certain formations that they had read him and been, done so much homework on him that they understood there was a very limited amount of stuff they could do and it was all sort of intermediate stuff. they did not fear in any way the deep ball of the denver broncos and in my opinion, on a weather free day, peyton manning, one of his biggest mistakes was not to challenge deep. he only did it one time the whole game when you think about it, not to challenge deep, and the second thing, they just knew that no one had been as physical with their receivers all season as they were going to be with the their receivers. cam chancellor, the hardest hitting safety in football now has taken over that manhattan from troy polamalu, and sherman
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and maxwell both good cover guys but also extremely physical. denver wasn't ready to get beat up as much as they got beat up. >> rose: but this is the super bowl. >> yes. >> rose: i mean you are supposed to -- >> but you know them, but when cam chancellor, 231-pound safety, when most safeties are about 205 pounds and he gets a running start on you and levels you, you can't practice that. that happens and you say, oh, my god, i mean, the you, cobwebs are in there so my whole feeling is, richard sherman told me this last week. he goes, i said, well, you know, peyton has got a lot of weapons, you know i look for one of these maybe these guys on the bench to be a big factor in this game and he just laughed and said, we don't care. i mean, we are going to really -- he thought they were really going to beat them up. >> they were reading his signals at the line, they were stealing peyton's signals the guys said
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after the game last night they saw what he was doing on the bowls and calling it out to each other and midway through the first half they were right most of the time that is bravado if you think you can read the great peyton manning for a book you have tom confidence and you are prepared. >> rose: jim, what happened? >> well, i mean, they out performed them, they were out physicaled, i think the main thing is and peter has alluded to it they got peyton off his spot. he was sacked 22 times the entire season the seattle seahawks hurried him and knocked him down a couple of times early. but they herded him and disrupted him unlike new england and these other teams that went in, they didn't get anywhere near peyton manning he was up there against san diego and open season, these receivers were jostled off the line and couldn't get to where they needed to be, it disrupted the timing. >> and it was peyton's manning in this super bowl what part is the x's and o's and what part is mental? because i don't have to consider the fact that as he has
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gotten older and things are more important, it is not just more difficult to get it done at 37 years old, physically and mentally it is more can i, we see it with brett favre and place in other sports, you tighten up and it means more, you are smarter and have been through it all. you are aware this is your last chance, maybe, you have to grab it and you have to make in work and you mess-up and we saw that with peyton manning. >> that's why i always think peyton manning is not better with two weeks to prepare. >> no. >> because i think it is two more weeks to obsess. >> to obsess over it. >> is that right? >> and. >> rose: he obsesses and is too anal already. >> he should only have a week to prepare because after that, you know, charlie it becomes spy versus spy well here is what he is thinking is so this is what i am going to think so this is what he is thinking. >> but just go out and play the game. >> rose: should we think less of his career because of this? >> >> this is a gigantic moment
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because peyton manning may not get to another super bowl, so, you know, it is going to affect his legacy, there is no question about it. but i always say, i am so glad as a hall of fame voter that guys have to be retired for five years before we consider their case. >> rose: because you are thinking about. >> yes remember when kirk warn fore the went to the super wole everybody wants to do the coronation and has to be in the hall of game. why? let's everybody calm down. >> rose: go ahead. >> i was going to say, he is a great, great quarterback, i mean perhaps the best ever, look at all of these regular season records he is sitting, 606, 55 touchdowns, but if you look back in this position, the same guys who broke the record before, tom brady with the touchdown record, dan marry know with the touchdown record in yards they didn't win the super bowl, they had great seasons and he came in there and they lost so when you are talking about his legacy he is one game under 500 in the playoffs and in the super bowl i
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remember the fran dark on the line, dark ten con, dark on the line, dark kenton line, remember they pay those guys over there on defense as well. >> but are we talking about the art of playing quarterback or talking about how much numbers you have racked up and once we get into is it about number and regular season numbers or winning super bowls? >> rose: how should we talk about it? >> well, nobody has done more in this era for the art of playing quarterback than peyton manning, he changed the position and what you do when you come to the line of scrimmage, he changed the standard that is set, and that is as important to the discussion as anything else. >> the game has changed. i mean peter can speak to that. look at the offensive explosion now and the passing game, it is so much different. i mean, it used to be, you know, the running game but now -- >> that is more argument than numbers not being the most important thing, right? >> i understand, that's right i mean drew brees you look at the number with a lot of guys and it is a whole lot different than it was 15 years ago. i would make one point about all
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of the stuff about the manning legacy, over the weekend i just for fun i looked up some of the great quarterbacks of all-time and look what happene to them late in their career in the post season. >> rose: and what did you find? >> johnny unitas had some bad post season games rate late in his career, some bad play-off games, brett favre had some bad post season games late in his career. you know, he had a terrible game against the giants and the cold that day in green bay, dan marino, i mean, so many great quarterbacks as you get older are really having sort of shaky games when they count the most. >> rose: when we talk about russell wilson. love this guy. >> he is getting old too. >> he is 25. >> so wha what do we say about s performance? >> yo you have to look at the wy he is expanding the quarterback position and the way you think of it, se five-foot, ten and three-eighths inches which is not manager something you are supposed to be as a super bowl winning quarterback, you have
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mendoza, six-foot, two, certainly if you do back and look at all of the analysis of him during the draft which we did recently, it was almost unanimous of, ha, he may make it in the nfl but not really a starting quarterback and now johnny manziel is coming to the draft as a six-foot quarterback. >> rose: schneider and carroll famously said they had this x factor they look for that he -- the will to win. >> that may be peter carroll's best decision ever as a coach and i mean throughout his entire career, when he said good-bye to flynn, eight to $10 million and he said i am going to wuls wilson who they picked, the 75th pick overall, there was no way that if he doesn't do that that this team, i don't care how good their defense is, that they are in the super bowl and winning so -- >> so charlie. >> it is a great decision. >> think of this, russell wilson basically walked on to the campus at the university of wisconsin and 22 days after he appears on campus, he is
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convinced 16 coaches and 108 players on that team that he should be one of the three captains of that team. how do you do that? a big ten program, national champion contender and last night, charlie, after the game, i waited out everybody and i went and spent ten minutes with russell wilson and just talking and he goes, peter, you know, what we have to do, we have to make sure that this isn't the only one. he said, we -- i think we are poised for continued greatness. >> rose: and do you think -- >> we are very young. i think they are if they can keep that defense together. russell wilson will not get fat and happy. i will guarantee you. there is something in him, some chip inside him, just whatville was talking about, that's what the seahawks saw in him. >> this is interesting i got to peek to his high school coach from cleenl y'all high school back in virginia and he said the day the kid walked in there and he met him as a sophomore and then in eleventh grade he said he was a national leader and said he was born to do this. he said he would rally all the
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guys and say it got to the point where the buys didn't want to let russell down. >> rose: yeah. >> because they didn't want him to be disappointed in them, because that is how hard he worked, in he was the first one there, the last one there and getting good grades, everything and then he gets drafted to play baseball by two teams, the orioles and rockies it, he would have been a pretty good second baseman, terrific prospect and like peter just picked up, goes to wisconsin and now he is winning a super bowl but i mean this high school coach said there was no doubt, plus the fact that he had learned from his father before he passed away, and he said, this kid was destined for greatness. >> that is amazing, we talk about the manning family, russell wilson comes from an extraordinary family. >> rose: yes. >> his grandfather was a university president, his grandmother has three different degrees. his father was an exceptional athlete, also went to an ivy league school and also president of the class at law school with two sport athlete and tried out with the san diego chargers, his whole family is about achievement and leadership and accountability. he was raised that way and you
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see it on the field. >> i left earlier than you did, i left midway fourth quarter because i had to get up earlier than you did. >> there could have been a comeback, charlie. >> there was not going to be a comeback. >> you could have listened to it on the radio. >> and it was 48 and when i left, and i just -- the person i wanted to talk to was adam gays. what happened? because i read this column, i mean this article when i got up in "the new york times" that morning, just saying this is a genius and peyton says this is the smartest mind i met in football and all of this kind of thing so -- and i didn't want to be accusatory to him, you just want to say what happened? >> i will give you a great mike tyson line that applies here. everybody has a plan until they get hit. >> and once you get hit that plan goes out the window and it went right out the window right after that first snap. >> rose: i think a general said that about battle too. >> i can't quote him. >> i will extend a little bit more time with that. >> rose: you said when manning
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looks back on this tape he will be sick. >> i think he will be sick. because of three things. i think how much he was rushed really affected his decision-making process he wasn't as patient going one, two, three, four. he made quicker decisions than he normally has to. peyton manning hates to do that. that is number one and i think number 2, you know, i believe that no one has th the reverence for this game and for the history of this game and he won't say it, but peyton manning can answer any super bowl trivia question you will ask him. >> rose:. >> yes. >> he really loves. >> rose: mike tyson did about boxing by the way. >> he absolutely loves football and it really will bother him when he looks back at this tape and sees some of the decisions he made. >> rose: i felt sick at my stomach for peyton, that he has done this before. >> yes. >> and you just didn't want it
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to happen to him again. >> right. >> #02: he is going to have to have the conversation, steve young was saying this week it is about a conversation that he has to have. steve young pointed to dan marino and saying that he has to constantly have the conversation about not winning and peyton manning for next 50 years has to have this conversation, and that is going to gall him more than anything. >> but i will just say one other thing, everybody said could this be it? if he won could this be it? >> absolutely unhe givecally not and the reason is, that he still loves doing it too much and yeah was he over matched last night? absolutely. >> rose: right. >> however, i think a lot of teams in the halfful in everybody said nobody rebels the loser of the super bowl, they only remember the winner, i will just say this, there are 32 games in the league i think there are a lot of good things about being number 2. >> rose: i don't think there has ever been a quarterback that went into a super bowl that more people weren't hoping the best for him on whoever you were, if you were a fan, and even if you
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are seahawks fan you wanted the best for peyton manning. >> russell wilson wanted the best for him, he loves him. >> russell, you probably know all of this, there is nothing i know you didn't forgotten years ago, but russell wilson told me this morning that he went to camp, the peyton manning camp when he was 11 years old, 11 years old. >> peyton took the time with him. everybody likes peyton. >> peyton treats everybody well, and you can't help but if you have had any time around him or even if you just know him from television or know him from his performance or know him from his work ethic, you can't help but admire and respect this guy so i think you are exactly right, people wanted to see him win and he will have another chance you don't set these records that go away next year and be totally ineffective. >> rose: i want to say one word about pete carroll carol this is a guy who put it together in seattle and had him poised for this game in the super bowl. >> yes there are a lot of people who thought his ra, ra, college style he was bringing up from
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usc and it wouldn't work, i don't mean the g's and o's, the theme of the program, the way he talks, the way he is excited all the time, but it did work and that goes to my point here, he has a young group, let's not forget the seahawks average age is 26 years old, he loves coaching these guys. >> and he is 64, he did something special, only one coach in the history of the nbc and ncaa won the ne national championship, larry brown, now barry switzer and barry i don't know son and peter carroll those three names and ncaa championship, world championships of the super bowl. >> one quick point about peter carol. >> last night i was fortunate enough to be in the locker room when he finally got his team together and talking to them and i said to my buddy at sports illustrated i said, in is the usc locker room. he sounds precisely like he did at usc because i saw a couple of
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tapes of him and talked to his team in college, he is mr. energy. it is unbelievable that this guy is in his sixties, he is like he is 32. how has this worked? >> well in my opinion, in my opinion, peter carroll could be the greatest speech maker and the greatest guy in the world but if you don't have russell wilson and you don't have an absolutely totalitarian defense like he has, you are going to be sort of, you know, yelling in the wind, but i do believe, jim, you said it exactly right, and rachel, that he knows his players so well, he knows what gets players happy, you know, no repeat friday at practice, he has all of this music playing at practice. >> rose: throughout the interview i think that paul allen did here and about an hour we had a conversation. >> and what did you think of him. >> i thought highly of him. >> i mean, he had confidence in his team and loved his team and i mean, and then people of seattle said to him you have got
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to keep this team in seattle, it was because of paul allen they stayed in seattle, they were halfway gone in a stadium and got the vote on that, he made that a precondition to, you know, him doing it and what he said to me about pete is said pete could communicate to players, in the end what he liked so much in john schneider he knew how to communicate with his players and he knew how to reach the players and that was crucial. and here is my only super bowl story. i love being naive, although i age wished for peyton manning but i love seeing the spirit of seattle and i happened to be in town for a birthday but i am sitting last night next to bill youer and to have a super bowl winning coach, and we talked throughout the game, you know. >> did he answer questions. >> yes. >> about the offense? >> he said pretty much what what peter said but it was just great, you know, and i mean, it was the most wonderful super bowl experience i have ever had.
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>> so there is a super bowl winning coach twice sitting next to me and after every play, you know, we didn't need television, we had our eyes and one ear. >> rose: that is interesting about seattle and i was lucky enough to be in seattle in 1978 a and 1979 when the sonics won their championship in 79 after losing in 1978, the marvin webster team lost and got back with lenny wilkins and shelton came from the knicks and won and they threw a parade they lost unlike anything they, you have seen and the year they won they exploded they, the team came in existence in 76 so there is going to be an explosion and just an onslaught of love and affection for this team, because the pacific northwest hasn't had anything like this and lost the sonics, so this is going to be just terrific for them up there. >> and there is nothing like a super bowl, you got to sit next to bill cowher and it brings everybody together who did we see in the stadium, so many people watching on television like nothing else in american life these days and everybody gets to celebrate.
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>> rose: from the very moment the thing opened with the flyover, just wonderful, you sit there and, you know, this is america. >> this is an american moment. and this is when america comes together. >> put themselves in the top 5 an themselves ever. >> my favorite ever will be whitney houston right after the gulf war or during the gulf war. >> rose: great to see you all. thank you. we will do it next year. >> catchers report in three days. next go. >> rose: be there. >> exactly. >> back in a moment, stay with us. >> there is hog i can do for you. if your mind has been made up. you seem to know the answer to your questions, why do you ask? i'm sorry you are unwilling to defend your beliefs in any rational -- >> if you know the answer to my questions then why ask? >> rose:. >> we are not helpless.
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and we are on a journey that risks the dark. >> rose: tonight, we mark the loss but celebrate the life of actor philip seymour hoffman. he died in his manhattan apartment sunday morning. he was 46 years old. the suspect cause is a drug overdose. and 25 year career he appeared in more than 50 films, often captivated audiences with his talent and his versatility. he was unafraid to inhabit and humanize even the most unsympathetic of characters, he was nominated for four academy awards, he won the oscar for best actor for his role as truman capote in the 2005 film capote he received nomination as his role in death of a salesman, here to talk about philip seymour hoffman two, film critics who know his work very well, david denby of the new yorker magazine and ao tony scott of "the new york times", i am pleased to have them here at this table. so i begin by asking you, just to think out loud about philip
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seymour hoffman. >> well, you know, when i heard the news yesterday, it came as a real shock, obviously, being as young as he was and very much it seemed in his prime, having just recently in the master on the screen and death of a salesman on the stage, delivered two just extraordinary performances. and i was, felt much more personally affected by this than by many celebrity passings and i didn't know him at all, i never met him, but we are about the same age and i felt like my education as a moviegoer, and then as a film critic was in a way linked with his career, the movies that mattered to me in the late nineties some of the independent movies and that kind of great flowering of american independence cinema, boogie nights, happiness, he was in those and he was really indelible and memorable in those, and then he kept -- he
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was both a wonderful character actor and he had great character parts and big hollywood movies, but partly because of the flowering of that independent and studio personal at this division, cinema and the ambitions of directors like paul thomas anderson and others, he was able to become a star, to take on these heed roles that were incredibly ambitious, often very dark and troubling and there is just just this kind of honesty i guess in his work that was very unusual and will be very much missed. it is not a romantic actor or a physically heroic actor but spiritual heroic, and i mean he would start from the outside and work in. maybe you would say that about many good arguments, but, actors but i just feel he was opening up all kind of spheres of rages, lusts, everybody that -- it never stayed on the surface,
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charlie. it always went deep. even in small roles. i mean he could suggest, soulfulness, you know, underneath whatever he was doing on the surface, and the surface was spectacular. i mean, you remember truman capote, it was it was an impersonation but he got complete understanding of what a particular kind of person was, i mean he could play a baseball manager or art how in money ball and with his butt sticking out and he got that -- >> elderly manager with a big beer gut, you know, i mean, you said and i think it is right he made these very unpleasant characters sympathetic, whether we are talking about the guy in charlie koff man's is a equity in at this, schenectady new york or the sexual predator in unhappiness but never made an overt play for the audience's sympathy, he was never about being likable, the task was to be completely this person who you are playing and go as deep
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as you possibly could go and that honesty is what will bring the audience to your point of view, and make them not necessarily sympathize but understand and believe what you are doing, and there is enormous credible in the way that he -- >> rose: you wrote about this, what did he do in the master? >> well the master is just, i think it is an amazing movie and a movie that i will need to watch many more times to fully absorb, it is an extremely complicated and layered movie about two very complicated characters, joaquin and lancaster dodd, who is a show pan who in a way hoffman is make an actor, a guy who presents himself to the world as this confident salesman and faith healer and guru and huckster and whatever else he is, and he played that perfectly with all of the exuberance and verve this guy would have but also lets you see the loneliness and the pain and the confusion and the spirit
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july hunger and the need to be loved that drives this guy, and he does it, i can't say -- i couldn't anatomize what the craft is that gets him there, he is just sometimes it is even just the color of his face, the way he kind of would, you know, flush pink and last or burst into song, but it is an amazing and somewhat unusually for him very, you know, exuberant and robust and kind of rambunctious and show which performance, but there is always the inner -- the inner man there, the soul in torment. >> he could take a closeoffup in that movie and in capote, remember these enormous closeups, you know, better than anybody, i mean it is a very dangerous thing, for a director and an actor to stay in close and hold it minute after minute so you would watch the play on his face and of course the voice was remarkable and he was a master of tempo, i think that was it, charlie, he would really slow things down at times, there
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was scenes in the master where there are pauses and capote too is very measured and everything without any boredom, i mean you still want to fill in all of the all of the spaces because he is doing so much, i mean you don't have t to the ill in spaces because he is doing so much physically with his pace in close-up, that voice gets into your soul and he must have been incredibly intelligent and the just an ego centric 4 a second i would have the feeling that he would look at you and he could understand you and play you. he has played people like through nerds here and very successfully, remember the savages where he is kind of the savage is a very good with laura linney where he is a university intellectual who is frustrated and bitter and plays, just to make sure he is frustrated and bitter. i mean,. >> to keep. >> . at the same time he could
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play with great skill in "mission: impossible", and in big blockbuster type films. >> yes and he could be, i mean in the movie, in charlie wilson's wall, he was playing this kind of slightly unhinged cia operative who keeps going to john's office and braining the window with a ham inner and wearing a blue streak, but there too, it is like he is talking to aaron sorkin dialogue but doing it as if this guy is just, you know, inventing it out of -- >> he took on tom hanks in movie and kept him sort of off balance. >> rose: who played charlie wilson. >> yes like he did with meryl streep in doubt. >> yes. >> talk about a battle of technique and of great arguments. >> and it is really complex and interesting because the priest who may be a predator is also a genuinely benevolent guy who takes care of the weaker students in his parish school.
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so -- and the whole point is to hold you, you know, in that ambivalence without really knowing for sure. i mean meryl streep knows for sure but we don't know for sure. and looking at him and watching him in every scene you can go one way or the other way and keep -- it keeps you in that state of suspension. >> i don't want to read too much into this but then someone who knew him said look, you can't do what he did by getting so deep in to the characters he played without it, without paying a price. >> rose: you know, the mental effort that it requires, and the craft. >> the think about jazz musicians 60 years ago they were out there exposing their soul as at that well as their craft but you can name jazz musician whose would say -- and al pacino are still active in their seventies, you know, and so, of course, people die in the street all the time of heroin overdoses so i just don't know how to read this. i mean, it is just despair in a
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way. >> yes. it is. i mean i think there is something to that in that at least there is a risk, when you are going to these legion of psychic darkness and difficult at this, it has to hurt, and you may need to try to make -- >> rose: i think the point here is if you did it as well as he did it, to get as close and raw as he did, then, you know, you are really -- >> it takes a lot out of you. >> it really takes something out of you. >> i think he would have continued though and i think he would have sort of triple tracked his career in a some major movies and remember he could get them made and in the theatre i mean he did seem to be kind of working through some of the most demanding kind of central roles, willie low man. >> and long day's journey. >> and he might have come back
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and played tyrone. >> yes, yes. >> exactly. >> so, yeah, i mean, it is endless, i mean i have four pages of credits here for, i mean a man who was 46. i mean,. >> rose: many films. >> and worked all the time and he was part of a theatre company and he was inspiring play rights to play rights to work for him and other people, i mean you can't explain this kind of genius when it comes along once in a generation and it least a big hole. >> and it is a big hole, and just in the last 24 hours or so that you begin to realize how big the hole was, i mean because you just figure a guy like that working so much is going to be around and in four or five movies a year and is going to be on is stage, you know, forever and then you realize what -- how much he has accomplished and how special he is, that really i don't think there was anyone who quite had that combination of intelligence and raw talent,
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including as you say a kind of talent and control of his physical bearing and his face, and the ambitious and dismy. >> rose: we talk about these dark roles, he also had comedic skills. >> oh, yes. >> boogie nights. >> boogie nights is both, there is the scene that people remember in boogie nights is one of the most heartbreaking of him, you know, weeping in the car after mark wahlberg has did not accept his advances but even a bad movie, along came polly a romantic comedy with ben stiller and jennifer aniston, a movie no one should see but go on to youtube and see the scenes where philip seymour hoffman is playing kind of the wacky best friend of ben stiller is hilarious, kind of trying to school him in how to be a player and how to get the ladies. >> years ago he was in the talented mr. ripley. >> oh, yes. >> as freddie, the princeton
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bum, who is a he donist and drinker, a fornicator, i mean, you can imagine him playing that kind of role but he is actually very funny in it and he is on to matt damon, this imposter from the beginning, as i remember and he had kind of a premature gut but it didn't matter, in fact it never mattered an appearance of what they all look like now, whenever i would see him and he was here many times i had the opportunity to talk to people as well as enjoy their work, and i mean, there was also a certain kind of rumpledness about him, this was not a guy who didn't come in, his hair was never perfect and he had a rumple and often he didn't have a tie and sometimes a bard, i mean. >> he didn't care. >> rose: he did not care. >> and used that rumpledness as many actors could not and also bring, you know, he was so perfect and ga fastidious as trn capote and another great role you remember him in the big lebowski. >> oh, come on, yes.
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>> the nervous assistant of the big lebowski himself. >> when you think best -- is there one moment, one scene, one role, tony, that -- >> it is hard. >> rose: that came to mind. >> it is hard to pick it out. >> when you the thought of this guy. >> i thought of him talking on the phone and falling apart in happiness, i mean the happiness is such a propoundly unpleasant movie in a way, and how deep he goes into the unhappiness of that character is still something that haunts me. i think of that and he i also think of him among others in the 25th hour moo movie where he plays one of the friends of the main characters who is a school teacher who has got, you know, a terrible tormenting inappropriate crush on one of his young students, and that is another, you know, he is playing another nerd, and i don't know what it is, those are small moments in those films and i
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probably haven't, you know, seen those films in ten or fifteen years but there they are, there he is. >> that is remarkable. in capote, is that truman is a master of social scene, his atmosphere and also there is a suggestion of him of deep hurt and when he meets this perry, perry smith one of the killers he recognizes someone who is a fellow sufferer and there is a bond between them and hoffman lets you see that, without. >> rose: and when they kill him -- >> yes, but without losing his sense, his own specialness and his distance from this working class psychopath. >> rose: and his own ambition. >> the way he would use those guys. >> it is probably the best portrait of a writer in all of his, you know, wileyness and intelligence. >> rose: also in a moment like this without knowing, obviously there will be an investigation, but it seems from what we have
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read so far and what has been report sod far it may have been a heroin addiction and if it turns out to be true, in a room alone with a needle, and it just, it drives you crazy as to what happened, because of so much talent, a man who, you know, was poised to do all of the great roles, the theatre had to offer or any great director had to offer. >> yes. >> rose: and you wake up one day and there is somebody saying have you heard the news? >> you know and you say, see someone who had so much that he could do and had a remarkable ability to crawl inside one else and have you understand what that person -- who that person was. >> i think also it was very much admired and loved by the people he worked with, by his peers, by other actors. >> rose: someone came a came to me and one of his colleagues, it was his academy award speech for
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truman capote and his mother was there, because his mother raised him and she was there and thanked all of the requisite people but most of it at the end was about his mother, and he said, we are here together, you know. >> showed him his first movies, took him to his first plays and it was central to his life. >> rose: thank you very much, david, nice to have you here. >> thank you. >> rose: we will now show you from the appearances on this program fill -- philip seymour hoffman talking about the i aft that he loved and did so well acting. >> nobody is watching? >>
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>> do you want me to? >> i have a friend there. >> yes. okay. >> then i will. >> rose: we continue our appreciation of philip seymour hoffman with bennett miller a direct for who has known him since they were kids and directed him in capote and money ball, here is bennett miller on this show talking about his friend and collaborator. >> how do you direct him? >> well, it is interesting, at that point, i had known phil for 20 years, and there are things that i think we both learned about each other once we, you know, got into a room and began dealing with the material and i think we both have a very anguished, unforgiving process,
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and, you know, seeing what he did to get there and, you know -- >> rose: what did he need to get there? >> he needed to two to a dark place and feel profound vulnerability and experience a level of despair that, you know, maybe people who don't know him that well would be uncomfortable with. i think onset, from the outside looking in, the process might have appeared a little bit like, a lit fierce and rough but it didn't have to sort of apologize to each other about being like very forward and are we there yet or not? but because i had money phil for so long, he would -- he would call me up before he would go up in a play, like. >> rose: two weeks? >> two weeks before true west, before the seagull he called me
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up and he would say, you know, benny, i am nervous, i think my career is over. >> i don't know what i am doing, i am going to be revealed to be a fraud that i really am and, you know, and i would go to opening night and he is genius so when that began to happening with capote -- >> rose: you had been there before. >> i had been there before, and, you know, i think we knew how to give him the space and allow him his despair. >> rose: beyond getting in a dark space and finding despair, what else, how do you -- tell me how you see in performance. what is great about it? >> well, i think what is great about gliet the critics are saying it, not me. >> i think it is great too. what is great about it is it is not some kind of, you know, mimicking of truman capote. there is a mechanical aspect of playing this role. >> rose: the voice. >> the voice, the physicality
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and all the way he lost and all of that kind of stuff, but he had to own that stuff, so fluently that there is no self-consciousness about it so he could play what was beneath it, and it is interesting, people's memory of capote, i think, you know, belies, you know, the truth of who this character was and in many ways the flamboyancy of the character is an obstacle to get past, you have to do it but some howes you have to communicate through all of that and that is what he does, and it is complex. he is a complex person and i think phil managed to reach through that. >> rose: let me tell you one thing you said about -- you said shooting phil is a bit like doing a wildlife documentary, other actors hit their marks and now how to find the light, phil is not interested in finding the light, phil plays away from the
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camera you can't do that much here. >> right. that's right. he is unpredictable. and, you know, we rehearse for some time, but we get into a scene and whatever the truth of the situation is in that moment, it will undo, you know, whatever preparation, if in any way there is a conflict, and try to save it again some way. i tell you, he prepares, you know, think i more and more deeply or as deeply as anybody could possibly prepare, you know, he got a great brain and really can dissect a script, a story and character and understands but knows are, but those are who not the things that make him a great actor, what makes him a great actor, i think, is his his ability to
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tune into the, tune into the frequency of the moment and find the truth in it. he is an immensely sensitive person, immensely sensitive person who has a character in real life and often i think as is the case with people who have got charisma and he has charisma have a whole other thing going on like behind that charisma, very, very sensitive person who will enter a scene and almost despite his preparation, his work and, you know, his analysis can let go and, you know, you know, be with the moment. >> rose: we conclude our appreciation of philip seymour hoffman with a look back at his appearances on this program. he talked about many things, but especially the craft of acting.
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here it is. >> you know, it is really, acting is a weird thing, because really the best -- acting day to, is a day-to-day thing and that's why doing the theatre is to important to me. >> what does that mean, day to day? >> because you are only as good as what you are doing right then and i truly believe it and that's how i think of acting, acting is not something that is put on a canvas you can put on the wall and people can come by and see whenever they want to see it. it is really what you are doing that day with your acting and what you do on that day is what i, is when i am satisfied, i am as good as i am showing you right now because in the theatre is something that will humble you in a second because you will be as bad as you can be assert points sometimes in the theatre, and you can experience that and realize, i always have to -- so even though -- >> rose:. >> you are using the past tense, they look at your movie as good as it might have been yes that is where i was yesterday, it wasn't that, wasn't i great
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yesterday? but it seems irrelevant in a way. >> yes. >> to you as an artist. >> but i can go back and you can go back to it, though, i mean there is something on the other hand you can flip it over, there is like a painting. >> yo you are very proud of it d say i can be better tomorrow or maybe not but in one moment of time wil there is something i wl be pleased and proud of. >> absolutely. >> yes, very proud of it. >> it is great for the lazy side of myself too. i got that one. >> but are you actually saying that there are moments and more than moments in which in the performance of true west you are just not good. >> well, no, i am saying there are, in the theatre you do eight shows a week and do it over four and a half, five months at a time, sometimes even longer, in the theatre, always puts you in a position where you know you can be better. >> rose: you look -- what do you look for when -- in terms of getting outside of the character not in terms of accepting a role but getting inside the character, what is it? >> you know, i look for the
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thing i really don't want to find. >> is the best -- meaning i keep asking questions about the character and about myself, back and forth, pertaining to the story, pertaining to what i know to get at some type of truth that i feel is the center of the guy, of the person's engine, if that makes any sense at all. it is kind of like getting at something that hopefully will be something that kind of catapults whoever you are playing into action and it is a hard thing to do, and sometimes you don't find it, but you, i don'ting, you are in constant search of it. >> is it on paper or a mental exercise? >> no, it is very mental. it is work. it is problem offing. it is a lot of things. >> rose:. >> get them to tell the story. >> yes absolutely this is about the art, the book. >> i am a writing, that's what i do, he says it to perry at one point, i am not here, you know, to entertain you. you know, i am here to write
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this book. >> rose: that's a good point. >> and it is in the movie too and you if get it very clear he is justified all of his action but i don't think it is a classic tragedy, i don't think he understands where this story is ultimately rolling toward and i think he is fighting it and he is fighting it off and guying it off and inevitable he is going to actually have to make a decision between his ambition and the book and watching these two people he got very close to die. >> rose: is it rolling toward a moment in which the end of this book they have to be executed. >> that's right. that's right. >> that is what is rolling and where does he -- does he want them to be executed because he wants to end the story and finished the book and move on. >> i would like it if you would buy but when you die the grief i feel will be crushing. >> meaning he is willing at someone's death that ultimately when they die will cause so much grief it will crush them those two things can't go exist
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together without causing severe damage and ian bremmer and i think ultimately lat is the damage, that is the tragedy that unfolds in this film, an incredibly taught way bun net put it together and that to me is what is compelling about it. i didn't accept this film to play truman capote, i accepted this film to take part in telling that story, because that story to me is about, you know, i am getting very corny here but it is about life, it is about those decisions at every moment like should i go here or there, no, i want both and you realize these things are just so different and so opposite that our battle with each other coexists together inside you and how difficult that is, you know, and that this is an incredibly extreme example of that, i think, very human dilemma, that ambition and greed and all of these things will bring up. >> rose: which make it as you say a story beyond capote. >> it is a story about capote. >> rose: about human life and
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choices ambitions, journalism. >> i could talk about father flip in the president, and i don't mean that just because of you don't want to give away. >> but meaning that. >> i fill those things in personally, but they are intertwined. >> his history is intertwined with his present, meaning i think he is a mac who does want his place or vocation to be the center of the community. i think he wants people to be excited to come to where he works, i think he wants to be the center of thought and debate, and i think he genuinely thinks, genuinely wants this, and he is also, but he also is part of that hierarchy, and he is at the top of it, and i do think that is is not very progressive you know what i mean in so he comes right -- you see what i mean? he is a progressive guy coming right smack up against something, it is not that he is a part of and
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he is not quite willing to give up yet, i think to put it in simple terms it is really appropriate, really and i think that is how i feel about the film because i have been working on it, they kept paring it down, it felt like we just kept pairing it down to the simple moments life in of the man, really that is what it was about and i think that it is, you know, it is about a man's life, it is about, i always say it is about a lot of people's lives but it is about a man's life who realizes ultimately that everyone has -- is a lead in their own story, this kind of realization that comes to him, but ultimately about a person who is trying and really just watching a person trying, you know, and he is trying -- and that eventually his life ends, you know and you never get there and really do figure it out and do you really get the answer, are you really fulfilled and, you know and all of those questions arise during that time. >> but the poetry is in the journey so to speak.
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>> yes, but because he is an artist and because he is trying to approach the truth with an artistic piece of theatre, he is you know, very close to these issues familiar some people may kind of keep away. captioning sponsored by rose communications captioned by media access group at wgbh
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a kqed television production it's sort of like old fisherman's wharf. it reminds me of old san francisco. and you'd be a little bit like jean valjean, with the teeth, whatever. and worth the calories, the cholesterol, and the heart attack you might have. it's like an adventure, you know. you gotta put on your miner's helmet. it reminds me of oatmeal with a touch of wet dog. i did.


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